François Truffaut in avtorska teorija

diplomsko delo

Mery Gobec (Author), Robert Černelč (Mentor), Jože Dolmark (Mentor)

Abstract

Diplomsko delo obravnava razvoj ideje avtorstva, ki se je najbolj uveljavila v 50. letih prejšnjega stoletja. Kako se je ta ideja materializirala v filmskih delih, analizira skozi opus Françoisa Truffauta, utemeljitelja francoskega novega vala, ki je v začetku 60. let vzklil prav v idejah avtorske politike. Pojem avtorstva je bil še dolgo po izumu filma precej nejasen, s tem pa je bil vprašljiv tudi status filma kot umetnosti. Enakopraven ostalim umetniškim kategorijam je postal šele s prihodom nove generacije francoskih filmskih kritikov v 50. letih. Ti so ostro napadli tradicijo »francoske kvalitete«. François Truffaut je z esejem Une certaine tendance du cinéma française dvignil največ prahu in filme kvalitete obtožil neizvirnosti. S prihodom 60. let je z mladimi kritiki formiral obdobje novega vala. Za uveljavitev tega filmskega gibanja je zaslužen prav njegov celovečerni prvenec Les quatre cents coups (1959). Truffaut je vso kariero ostajal zvest ideji avtorske politike in bil hkrati komercialno razmeroma uspešen ter priljubljen. S svojim delom, v katerem je zapustil močen avtobiografski pečat, je vsekakor ključno vplival na to, da je film končno pridobil umetniški status ter da se je ideja avtorstva močno ukoreninila v pore filmske umetnosti.

Keywords

diplomske naloge;filmski avtor;avtorska kinematografija;avtorska kritika;avtorska politika;avtorska teorija;francoski novi val;cinefilija;Truffaut;François;1932-1984;Bazin;André;1918-1958;Astruc;Alexandre;1923-;Rossellini;Roberto;1906-1977;Renoir;Jean;1894-1979;

Data

Language:	Slovenian
Year of publishing:	2016
Typology:	2.11 - Undergraduate Thesis
Organization:	UNG - University of Nova Gorica
Publisher:	[M. Gobec]
UDC:	791
COBISS:	4144891
Views:	5295
Downloads:	695
Average score:	0 (0 votes)
Metadata:

Other data

Secondary language:	English
Secondary title:	François Truffaut and auteur theory
Secondary abstract:	This bachelor’s thesis discusses the development of the auteur theory, which established itself most prominently in the 1950s. The thesis analyses the materialisation of the theory in film through the opus of François Truffaut, one of the founders of the French New Wave, a movement that emerged from the ideas of the auteur theory in the early ‘60s. The notion of auteurship had remained unclear long after the invention of film, as had the status of film as art. It was not until the arrival of a new generation of French film critics in the ‘50s, who sharply attacked the tradition of “French quality”, that film was perceived equal to other arts. With his essay “Une certaine tendance du cinéma française” François Truffaut stirred up emotions when he accused films of “French quality” of being unoriginal. In the beginning of the sixties he formed, along with other young film critics, the New Wave, with his feature debut 400 Blows (1959) leading the way. Truffaut remained faithful to the auteur policy throughout his career and managed to remain at the same time relatively successful and popular. Through his strongly autobiographical work he was certainly a key influence in helping film to gain the status of art, and in aiding the auteur theory to strongly establish itself at the very core of film art.
Secondary keywords:	Hitchcock;Alfred;1899-1980;
URN:	URN:SI:UNG
Type (COBISS):	Bachelor thesis/paper
Thesis comment:	Univ. v Novi Gorici, Visoka šola za umetnost
Pages:	131 str.
ID:	9127221